American Artist Magazine Article

DISCUSSION -- Based on quotes from
Linda Price The artist uses glazes to merge areas and
help certain areas recede.

For instance, in Young Woman Overlooking Silicon Valley, she used
glazing to

make the eye cavity recede, push the cheek back into the hair, unify the
hair, and

create the folds in the neck. Scumbling softened the face and created a
slight motion
blur that made the model look less static.

The dark brown areas
in the eyes are glazes. The lighter areas you see are more than likely,
scumbles. A scumble is a transparently applied paint that is lighter in
value than the dry, darker underpainting. To be a true scumble, the lighter
value paint must be comprised of pigment that is opaque by nature, -and
- be thin enough to reveal the underpainting beneath. The white'ish rim,
flying off the high right edge of the bridge of the nose, is the most obvious
scumble. Thin scumbles, used abundantly in the lights of this face, make
an optical effect that is very much like peach fuzz, and so it can be very
helpful in feminizing facial skin. Glazes deepen recesses in near forms
in a way that reminds me of looking into the bottom of a shady woodland
pool. When scumbles are worked into glazes, it is like building a mound
from the bottom of the pool out of the water. This is what I did with the
lights on the eyes.